Part 2

You are going to read a magazine article about hippos. Six paragraphs have been
removed from the article. Choose from the paragraphs A-G the one which fits each gap
(7-12). There is one extra paragraph which you do not need to use. ar! your answers
on the separate answer sheet.
When the hippos roar, start paddling!
Richard Jackson and his wife spent their honeymoon going
down the Zambezi river in a canoe.
"They say this is a good test of a relationship#$
said Tim as he handed me the paddle. % wasn$t
sure that such a tough challenge was what was
needed on a honeymoon# but it was too late to
go bac!. y wife# &eigh# and % were standing
with our guide# Tim Came# on the ban!s of the
'ambezi near the 'ambia( )otswana border.
This was to be the highlight of our honeymoon*
a safari downriver# ending at the point where
+avid &ivingstone first saw the ,ictoria -alls.
10
.ne morning# Tim decided to count the
number of hippos we saw# in an attempt to
gauge the population %n this part of the river.
ost of the wildlife !eeps a cautious distance#
and we were assured that# safe in our canoe#
any potential threats would be more scared of
us than we were of them / but we had been
warned to give these river giants a wide berth.
They$d normally stay in mid/stream# watching
us with some suspicion# and greeting our
departure with a cacophony of grunts.
7 11
0either of us had any canoeing experience.
Tentatively we set off downstream# paddling
with more enthusiasm than expertise. Soon we
heard the first distant rumblings of what seemed
li!e thunder. "%s that ,ictoria -alls1$ we in2uired
na3vely. "0o#$ said Tim dismissively. "That$s our
first rapid.$ 4asy# we thought. 5rong6
Tim yelled "7addle6$ and over the next 899
metres an .lympic runner would have
struggled to !eep up with us. The hippo
gave up the chase# and although Tim said
he was :ust a youngster showing off# our
opinion was that he had honeymooners on
the menu. That would certainly be the way
we told the story by the time we got home.
8 12
The canoe plotted a crazed path as we careered
from side to side# our best efforts seeming only
to add to our plight. This was the first of many
rapids# all relatively minor# all en:oyably
challenging for tourists li!e us.
;t some times of the year# you can even
en:oy a natural jacuzzi in one of the roc!
pools beside the falls. The travel brochures
say it$s the world$s most exclusive picnic
spot. %t$s certainly the ideal place to wind
down after a near miss with a hippo.
9
The overnight stops would mean mooring at a
deserted island in the middle of the river# where
Tim$s willing support team would be waiting#
having erected a camp and got the water warm
for our buc!et showers. ;s the ice slowly melted
in the drin!s# restaurant/2uality food would
appear from a coo!er using hot coals. Then
people would begin to relax# and the day$s
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8
stories would ta!e on epic proportions.
A &uc!ily we could ma!e our
mista!es in privacy as# apart from
Tim and another couple# for two
days we were alone. .ur only
other company was the array of
bird and animal life. The paddling
was fairly gentle# and when we got
tired# Tim would lead us to the
shore and open a cool/box
containing a picnic lunch.
E )ut number 8<9 had other ideas. ;s
we hugged the ban! he dropped under
the water. 5e expected him to re/
surface in the same spot# as the others
had done. %nstead# there was a sudden
roar and he emerged lunging towards
the canoe.
B %f that was the scariest moment# the
most romantic was undoubtedly
our final night$s campsite.
&ivingstone %sland is perched
literally on top of ,ictoria -alls.
The safari company we were with
have exclusive access to it* it$s :ust
you# a sheer drop of a few hundred
metres and the continual roar as
millions of litres of water pour
over the edge.
F .ver the next hour or so the noise
grew to terrifying dimensions. )y the
time we edged around the bend to
confront it# we were convinced we
would be faced with mountains of
white water. %nstead# despite all the
sound and fury# the 'ambezi seemed
only slightly ruffled by a line of small
roc!s.
There was plenty of passing traffic
to observe on land as well /
giraffes# hippos# elephants and
warthogs# while eagles soared
overhead. 5e even spotted two
rare white rhinos. 5e paddled
closer to get a better loo!.
G 5hen we$d all heard enough# we slept
under canvas# right next to the river
ban!. -ortunately# we pic!ed a time of
year largely free of mos2uitoes# so our
nets and various lotions remained
unused. The sounds of unseen animals
were our nightly lullaby.
! 5e had a four/metre aluminium
canoe to ourselves. %t was a small
craft for such a mighty river# but
2uite big enough to house the odd
domestic dispute. Couples had# it
seemed# ended similar trips
arguing rather than paddling. )ut it
wasn$t :ust newly/weds at ris!.
Tim assured us that a group of
comedians from 0orth ;merica
had failed to see the funny side too.
Level C
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Part "
You are going to read a newspaper article about a novelist. -or 2uestions 1"-19# choose
the answer (A, B, or !) which you thin! fits best according to the text. ar! your
answers on the separate answer sheet.
#he opera-lo$er t%rned &ri'e no$elist
!hrough her series of crime novels" #onna Leon has been solving murders in $enice
with great panache / mostly to the soundtrack of grand opera.
+onna &eon first launched herself as a
crime writer in 8>>8 with #eath at La %enice"
which saw a conductor poisoned in mid/
performance at the ,enice opera house. "%t was an
idea that !ind of grew#$ she says. "% had a friend at
the opera house. .ne day we were bac!stage#
complaining about the tyrannical conductor / and
we thought it would be a laugh to ma!e him the
victim in a crime novel# which % duly went off and
wrote. )ut that$s all it was meant to be. % was
luc!y to be born without ambition# and % had none
for this boo!. Then % sent it off to a competition#
and six months later they wrote bac! to say %$d
won. % got a contract# and suddenly % had a
purpose in life# a mission.$
To hear her tal!# you$d thin! that until
#eath at La %enice she$d been living in obscurity.
0ot so. She was a well/!nown academic teaching
4nglish literature at universities in the ?S; and
4urope. )ut she found that she wasn$t really cut
out for university life# and finally decided to wal!
out on it. "%$m a former academic#$ she says now
through slightly gritted teeth. ;nd it$s interesting
that her literary reputation has been made through
a medium so remote from the one she used to
teach.
"You$d be surprised how many
academics do read murder mystery though#$ she
adds. "%t ma!es no intellectual demands# and it$s
what you want after a day of literary debate.$ That
said# s &eon is big business. She sells in bul!#
her boo!s are translated into nineteen languages
and she$s a household name %n @erman/spea!ing
countries. ";ll of which is gratifying for me
personally# and % don$t mean to rubbish my own
wor!# but murder mystery is a craft# not an art.
Some people go to crime conventions and deliver
learned papers on the way ;gatha Christie
presents her characters# but they$re out of their
minds. % stay away from such events.$
&eon also stays away from most of the
other expected haunts of crime writers# li!e
courtrooms and police stations / "%$ve only !nown
two policemen# neither of them well#$ / which
accounts for the absence of technical legal detail
in the boo!s. 5hat$s more# the few points of
police procedure that appear are usually invented /
as# she admits# they$re bound to be when you set a
murder series in a place where murders never
happen. ",enice is small# compact# protected by
its geography / there$s really not much crime.$
Clearly the !ey thing about her murder stories
isn$t credibility. 7redictability comes closer to the
mar!* setting a series in a fixed location that the
reader finds attractive# with a constant cast of
characters.
;nd that$s what +onna &eon does. Aer
uni2ue selling point is ,enice which# as the
reviewers always say# comes through with such
vitality and forcefulness in &eon$s writing that
you can smell it. There$s a set cast of characters#
led by a middle/aged detective# Commissario
)runetti# and his wife (a disillusioned academic).
Then there are her standard :o!es / often to do
with food. %ndeed# &eon lingers so ecstatically
over the details of lunch# the pursuit of :ustice
fre2uently gets diverted. The eating is a literary
device / part of the pattern of each novel# into
which she slots the plot. "That$s how you hoo!
your readers# who li!e a !ind of certainty. ;nd the
most attractive certainty of crime fiction is that it
gives them what real life doesn$t. The bad guy
gets it in the end.$
%ndeed# when the conversation switches to
+onna &eon$s other life# && Complesso 'arocco"
the opera company she helps run# she tal!s about
baro2ue opera as though it were murder/mystery*
fuelled by "power# :ealousy and rage# despair#
menace$ which are her own words for the sleeve
notes of a new C+ of Aandel arias by the
company# pac!aged under the title !he
(bandoned )orceress. +esigned to tour rare
wor!s in concert format# && Complesso was set up
in =998 in collaboration with another ?S exile in
%taly# the musicologist ;lan Curtis. "%t started as a
one/off. There was a rare Aandel opera# (rminio"
that ;lan thought should be performed# and it
became an obsession for him until eventually %
said# "+o you want to tal! about this or do you
want to do it1$ So we did it. % rang a friend who
runs a Swiss opera festival. 5e offered him a
production. Then had eight months to get it
together.$
Somehow it came together# and &&
Complesso is now an ongoing venture. Curtis does
the hands/on artistic and administrative wor!.
&eon lends her name which "opens doors in all
those @erman/spea!ing places$ and# crucially#
underwrites the costs. %n addition# her publishing
commitments ta!e her all over 4urope / where she
!eeps a loo!out for potential singers# and
sometimes even features in the productions
herself* not singing ("% don$t$) but reading the odd
snatch from her boo!s.
Level C
B
1" 5hat is suggested about the novel #eath at La %enice in the first
paragraph1
A +onna based the plot on a real/life event she had witnessed.
B +onna didn$t envisage the wor! ever being ta!en very seriously.
+onna had to be persuaded that it was good enough to win a prize.
! +onna embar!ed upon it as a way of bringing about a change in her life.
1( The second paragraph paints a picture of +onna as someone who
A has little respect for her fellow academics.
B regrets having given up her :ob in a university.
was unsuited to being a university teacher.
! failed to ma!e a success of her academic career.

1) -rom +onna$s comments in the third paragraph# we understand that
A she feels crime fiction should be considered alongside other types of
literature.
B she is pleased with the level of recognition that her own novels have
received.
she regards her own novels as inferior to those of ;gatha Christie.
! she finds the popularity of crime novels amongst academics very
satisfying.
1* +onna is described as an untypical crime writer because
A she is able to imagine crimes being committed by unli!ely characters.
B she is unconcerned whether or not her stories appear realistic.
she has little interest in the ways criminals thin! and operate.
! she manages to come up with imaginative new ideas for her plots.

17 +onna$s greatest strength as a crime writer is seen as
A her avoidance of a fixed approach.
B her in:ection of humour into her stories.
the clear moral message she puts across.
! the strong evocation of place she achieves.
18 5hen +onna helped set up && Complesso 'arocco"
A she didn$t expect it to be a long/term pro:ect.
B she saw it as more interesting than her writing wor!.
she had a fundamental disagreement with her main collaborator.
! she was attracted by the challenge of the first deadline.
19 %n what way is +onna important to && Complesso 'arocco*
A She provides essential financial support.
B She oversees its day/to/day organisation.
She helps as a translator.
! She organises the recruitment of performers.
Part (
You are going to read an article about the human mind. -or 2uestions 20-"( choose
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C
from the sections +A-E,- The sections may be chosen more than once.
ar! your answers on the separate answer sheet-
Whi&h se&tion 'entions the .ollowing/
things that you will not need if you adopt a certain mental techni2ue 20
using an image of a familiar place to help you remember things 21
being able to thin! about both particular points and general points 22
things that you may not have a clear mental picture of 2"
something which appears to be disorganised 2(
annoyance at your inability to remember things 2)
bearing in mind what you want to achieve in the future 2*
an example of an industry in which people use pictures effectively 27
an everyday example of failure to !eep information in the mind 28
the impact a certain mental techni2ue can have on people listening to what
you say 29
an assertion that certain things can be !ept in your mind more easily than
others "0
information that it is essential to recall in certain situations "1
being able to consider things from various points of view "2
things that come into your mind in an illogical se2uence ""
remembering written wor! by imagining it in context "(
Level C
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Pi&t%re this --- with 0o%r 'ind1s e0e
!rying to understand and cope with life" we impose our own frameworks on it and
represent information in different symbolic forms in our mind writes Jonathan +ancock.
A
Thin! of the mental maps you use to find your way
around the places you live and wor!. 5hich way
up do you picture towns and cities you !now well1
5hich details are highlighted# which ones blurred1
Dust as the map of &ondon used by passengers on
the ?nderground is different from the one used by
drivers above ground# so your mental framewor!
differs from that of other people. 5e also use
framewor!s to organise more abstract information.
any people say that they can visualise the
position of !ey passages in boo!s or documents.
ention a point made by the author# and they can
recall and respond to it by picturing it in relation to
other !ey points within the larger framewor! they
see in their mind$s eye. .n a chaotic/loo!ing des!#
it is often possible to see a mental picture of where
the !ey pieces of paper are and find a particular
document in seconds.
B
5e all have our own natural strategies for structuring
information# for altering and re/arranging it in our
mind$s eye. You can ta!e control of your thin!ing
by increasing your control of the mental
framewor!s you create. Since ;ncient Eoman
times# a specific framing techni2ue has been used
to improve memory and boost clarity of thought.
The concept is simple* you design an empty
framewor!# based on the shape of a building you
!now well# and get used to moving around its
rooms and hallways in your mind. 5henever you
have information to remember# you place it in this
"virtual storehouse$. 5hatever it is you are learning
/ words# numbers# names# :obs# ideas / you invent
pictorial clues to represent each one. The mind
prefers images to abstract ideas# and can retain vast
numbers of visual clues. Dust as advertisers bring
concepts to life with !ey images# you highlight the
important points in a batch of information and
assign each of them an illustration.

emory and place are closely lin!ed. Aave you
ever wal!ed upstairs# forgotten what you went for#
but remembered when you returned to where you
were standing when you first had the thought1
5hen you are trying to learn new information# it
ma!es sense to use the mind$s natural tendencies.
%n your mind# you return to the imaginary rooms in
your "virtual storehouse$# and rediscover the images
you left there. Cicero# perhaps the greatest orator in
history# is reputed to have used this techni2ue to
recall complex legal arguments# addressing the
Eoman Senate from memory for days on end. You
can use it to remember all the employees in your
new wor!place# the :obs you have to do in a day#
month or year# sub:ect headings for a complex
piece of wor!# or the facts you need to have at your
fingertips under pressurised circumstances.
!
The system of combining images and ideas wor!s
so well because it involves "global thin!ing$#
bringing together the two "sides$ of your brain. The
left side governs logic# words# numbers# patterns
and structured thought / the framewor!s you build /
and the right side wor!s on random thoughts#
pictures# daydreams / the memorable imagery you
fill them with. The fearless# imaginative creativity
of the child combines with the patterning#
prioritising# structured thin!ing of the adult. The
memory is activated with colours and feelings# as
you create weird# funny# exciting# surreal scenesF
and the information is !ept under control by the
organised framewor!s you design. %magination is
the !ey. You enter a new dimension# dealing with
information in a form that suits the way the mind
wor!s. %n this accessible form# huge amounts of
data can be carried around with you. You never
again have to search around for an address boo!#
diary or telephone number on a scrap of paper.
Your memory becomes a !ey part of your success#
rather than the thing you curse as the cause of your
failure.
E
)ringing information into the field of your
imagination helps you to explore it in greater depth
and from different angles. Storing it in the
framewor!s of your mind allows you to pic! out
!ey details but also to see the big picture. You can
use your trained memory to organise your life* to
see the day/to/day facts and figures# names# times
and dates# but also to !eep in touch with your long/
term goals. )y understanding the way your mind
wor!s# you can ma!e yourself memorable to others.
@ive your thoughts a shape and structure that can
be grasped and others will remember what you
have to say. You can ta!e your imaginative grasp
of the world to a new level and# by ma!ing the
most of mental frames# you can put the information
you need at your disposal more readily.

Level C
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